This is Brahms' last choral work, and the subject is again concerned with the tragedy of human existence, treating words by Goethe (from Iphigenia in Aulis). Again, there is a classical Greek element in the words here. However, unlike Nänie, the tone is typically dark and minor-key, with a six-part choir SAATBB rather than the more usual SATB, and tuba and contrabassoon joining the orchestra: the German Requiem was the only other work where Brahms used both of these instruments together.

The music begins solidly and slowly in an imposing D minor with hefty accents on practically every note. Out of this initial outburst, another sombre theme tries to form in the strings, but it dies away, and the chorus enters in a hushed, grim, march-like mood. After a repeat of these opening words, the solid music of the opening re-enters, swiftly followed by a more determined chorus. The music continues to move in vast (like the cliffs and clouds it describes), slow strides, of giant energy, but plunges to ruminate in the depths as the chorus utter the words "...scorned and disgraced, into the depths of the night." After a brief quiet passage of searching, the music summons itself up again, for "righteous judgement". The vast striding mood returns for the next section, and this is followed by a return to the music and words of the opening. The first few march-like lines repeated thus, the choir enters again more lyrically, in a slow triplet rhythm, with a new figure.

The music is now more yearning, and the tenors enter, high up with a new theme. The music from now on never raises its voice, as we come to what might be described as a barren wasteland in music. The yearning theme eventually dies, leading into the coda. The choir are declaiming the final lines in a slowly descending monotone, slowly and haltingly, while the orchestra, joined by piccolo, are playing sparse textures, the harmony constantly changing, and the pace constantly faltering. The parts finally converge on the last words, with a grim unison. A chilling chord interrupts in the penultimate bar, and the very end is a harmonically ambiguous open fifth on D, neither minor nor major. The complete resignation of this ending, and the effect of the final bars is truly remarkable.